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1. Hi Sabina, welcome to VENTS! How have you been?
I’ve been really good! It’s been a pretty exciting and transformative time for me creatively. I’ve been working on a lot of new music, developing my artistic identity, and preparing for what’s probably my most personal project yet. There’s a lot happening behind the scenes, and I’m excited for people to start seeing it come together.
2. Your new single, “Everytime,” explores the painful realization that emotional attachment and genuine intimacy aren’t always the same thing. Was there a particular moment when you recognized that distinction, and did writing the track help you come to terms with it?
I think sometimes we become so attached to the way someone makes us feel that we start confusing that attachment with love. You can miss someone, crave their presence, and still recognize that they aren’t necessarily good for you. I wanted to capture that contradiction in “Everytime.” It’s about being emotionally drawn to someone even when you know something isn’t right. Writing it gave me a way to process those feelings, but I also wanted it to be relatable to anyone who’s ever found themselves in a similar situation.
3. The song captures the contradiction of wanting to get closer to someone while feeling increasingly distant from them. How did you approach translating such a complicated emotional experience into lyrics without losing the rawness of what you were feeling?
I try not to overthink things when I’m writing. Some of my favorite lyrics come from moments when I’m just being completely honest with myself, even if what I’m saying isn’t necessarily pretty. I think there’s something really powerful about admitting that you can want someone and resent them at the same time. I didn’t want to romanticize the situation or make it sound prettier than it was. I wanted to preserve that uncomfortable feeling of knowing something is hurting you but still being drawn to it.
4. “Everytime” is the first glimpse of your forthcoming EP, Velvet Bruises, which explores the beautiful and ugly sides of wanting someone you shouldn’t. What does that title represent to you, and how does the concept shape the emotional and musical direction of the project?
To me, Velvet Bruises represents the beauty in damage. It’s that contrast between something soft, feminine, and beautiful and something dark, painful, and destructive. I think we sometimes romanticize things that aren’t necessarily good for us, whether that’s people, relationships, or even certain versions of ourselves. I wanted the project to explore that contradiction. Sonically, it’s darker, heavier, and more confrontational than some of my previous music. There’s a lot of femininity in it, but also anger. I like the idea of something being beautiful and threatening at the same time.
5. Your sound moves between alternative pop, modern rock, and darker mainstream influences, with artists like Paramore, Evanescence, Mitski, The Neighbourhood, and Pierce the Veil in your musical orbit. What initially drew you to these different artists, and how do you bring those influences together without compromising your own identity?
I’ve always been drawn to artists who aren’t afraid to be emotional, dramatic, or a little unconventional with their music. I grew up listening to a lot of different genres, so I never really wanted to limit myself to one sound. I love the raw energy of rock, the vulnerability of alternative music, and the catchiness of pop. I think my music naturally sits somewhere in between those worlds. Ultimately, I want someone to hear a song and recognize that it’s mine, regardless of whether it’s a softer love song or something much heavier and angrier. I’m still experimenting, and I think that’s an important part of finding your identity as an artist.
6. You began your musical journey after hearing Christina Aguilera in the car with your father at just five years old. Looking back, how much of that early fascination with music still informs the artist you are today, and what has changed most about your relationship with songwriting?
That memory is actually one of my earliest connections to music. I remember being fascinated by her voice and the way she could communicate so much emotion through singing. I think that feeling has stayed with me throughout my life. I’ve always known that music was something I wanted to pursue. What’s changed is that songwriting has become much more personal. When I was younger, I was fascinated by the idea of performing and singing. Now, I see songwriting as a way to understand myself, process experiences, and sometimes say things I wouldn’t know how to communicate otherwise. It’s become a lot more honest and intentional.
7. Becoming a finalist on The Voice and making history as the first Azerbaijani woman to graduate from Berklee College of Music are significant milestones. How did those experiences shape your confidence as a musician, and did they change the way you envisioned your future in the industry?
Both experiences taught me a lot about believing in myself, especially when pursuing something that isn’t necessarily the easiest or most conventional path. Coming from Azerbaijan and building a career internationally, I’ve had to learn to navigate a lot of things independently. Being on The Voice gave me an early experience of performing under pressure and being in front of a large audience. Berklee, on the other hand, gave me the opportunity to grow as a songwriter, musician, and creative person while being surrounded by incredibly talented people. I think both experiences reinforced that I wanted to pursue music on a much bigger level. They’ve also taught me that there’s always more to learn, and I don’t want to put limitations on what I can achieve.
8. You’ve collaborated with songwriters and producers including Skylar Mones, JD Walker, and Mike Midura. What do you look for in a creative collaborator, and how do you balance being open to outside ideas with protecting the personal perspective at the heart of your songs?
For me, chemistry is really important. I love working with people who understand the vision but also aren’t afraid to challenge me creatively. I don’t necessarily need someone to agree with every idea I have. I appreciate different perspectives because they can take a song somewhere I wouldn’t have thought of myself. At the same time, I think it’s important to know what you want to communicate as an artist. I’m very particular about the emotional direction of my music, and I want everything to feel authentic to me. I’m always open to experimenting, but I never want to lose the personal element that makes a song mine.
9. Your 2026 releases “Bones” and “Novocaine” earned playlist support from Apple Music and Deezer, while “Bad Habits” has surpassed 160,000 Spotify streams. How has the growing response to your music influenced your creative decisions, particularly as you begin defining this darker new era?
It’s incredibly rewarding to see people connecting with something that started as a very personal experience for me. But I think the biggest thing I’ve learned is that I don’t want to create music based on what I think people want to hear. I want to keep pushing myself creatively and making music that genuinely excites me. With Velvet Bruises, I’ve been allowing myself to explore a much darker and more unapologetic side of my artistry. I’m less interested in fitting into a particular box and more interested in building a world that people can recognize as mine. The response to my previous releases has definitely given me more confidence to take those creative risks.
10. Having performed at The Alt Escape during The Great Escape in Brighton, what have you learned about connecting with audiences in a live setting? Do you approach performing your more vulnerable songs differently from the heavier, more explosive moments in your catalog?
I think performing live is one of the most important parts of being an artist because there’s an exchange of energy that you can’t really recreate anywhere else. I’ve learned that you don’t necessarily need everyone in the room to know your music to make them feel something. Sometimes it’s about the emotion you’re putting into the performance. I approach my more vulnerable songs differently because I want people to really sit with the lyrics and feel the intimacy of the moment. With the heavier songs, I love being able to release that energy and let things get a little chaotic. I think having both sides is what makes a live show interesting. I want people to experience the full range of emotions.
11. Your music often explores self-image, betrayal, relationships, and inner struggle, turning vulnerability into a source of strength. As you prepare to release Velvet Bruises in 2027, what do you hope listeners take away from this next chapter, and what aspects of yourself are you most excited to reveal through the new material?
I hope people feel seen, but I also hope they feel empowered. I think there’s a tendency to associate vulnerability with weakness, but I see it as the opposite. Some of the most powerful things about us come from the experiences that have changed us. With Velvet Bruises, I wanted to explore the beauty and ugliness of those experiences without necessarily trying to make everything sound like a happy ending. There’s a lot more anger, confidence, sensuality, and attitude in this project. I think people will get to see a different side of me, one that’s a little more fearless and unapologetic. I’m really excited to show that side of my artistry and create something that feels like an entire world rather than just a collection of songs.
Out now on all platforms: https://sabinabeyli.ffm.to/everytime
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